It is hard to deny that one of the most prominent forms of achievement in the audiovisual storytelling field of the 21st century is the long form, or serialized TV dramas. The traditional view of serialized TV dramas as artistically inferior versions of cinema is no longer valid. This has raised the question of what its formal characteristics are as increasingly urgent and important. The narrative and style norms of modern serialized TV dramas are examined from the perspective of film production and criticism, and through this, the mode of existence of audiovisual storytelling media is explored in the ever-increasing transmedia conditions.
The issues in the relationship between film and serialized drama raise old and fundamental questions about the definition of cinema. In a situation where neither the film as a material support nor the centrality of the theater viewing experience can serve as a basis for certifying the existence of a film, it has now become an unavoidable task to explore the possibility and direction of reconstructing cinema. In this session, theoretical issues and methodological possibilities are suggested and discussed. This will provide valid reference points not only in the realm of fundamental theory, but also in the realm of criticism and practical policymaking of individual works.
The concept of cinema has become uncertain recently, and this creates many difficulties in the composition and operation of laws and systems that make cinema socially present, as well as policies and institutions for the promotion of cinema as an art and industry. In an era where digital convergence eliminates the inherent differences of media types and where large hybrid platforms emerge, are unique institutional conditions and promotion policies for movies really necessary? If so, for what reason and in what specific way should they be implemented? From the current issues to the direction of fundamental innovation desperately needed, various discussions are held around the policy (re)construction of cinema.
|Dates||Oct. 10 (Mon) ~ 11 (Tue), 2022|
|Venue||Busan Visual Industry Center Conference Hall (11F), Screening Room|
|[Session 1] Are Serial Dramas “Cinema”?||Moderator: SONG Kyong-won (Cine 21)|
|16:00-18:00||Serial Drama as a Super-Genre and the Cinematic Experience||PARK Mi-young (Chung-Ang Univ.)|
|Discussion||Panel: MOON Gwan-gyu (Pusan Nat'l Univ.), PARK Mi-young (Chung-Ang Univ.), YOON Seong-ho (Filmmaker)|
|[Session 2] Theoretical Issues and Methodology||Moderator: KIM Ji-hoon (Chung-Ang Univ.)|
|13:00-15:00||Post-cinema and the Cinema That Is Coming||Dork ZABUNYAN (Paris 8 Univ.)|
|Desktop Documentary and the Cinema of Operations||KIM Ji-hoon (Chung-Ang Univ.)|
|Post-Cinematic Images between Algorithms and Aesthetics||Shane DENSON (Stanford Univ.)|
|The Boundaries of Cinema and Its Capacity as a "Montage Integrator"||LEE Jeong-ha (Dankook Univ.)|
|[Session 3] Laws, Institutions and Policies||Moderator: KIM Yi-seok (Dong-Eui Univ.)|
|16:00-18:00||Soft Landing Into the Post-cinema Era||KIM Yi-seok (Dong-Eui Univ.)|
|Changes in the Video Industry Environment and Revision Tasks for the Promotion of the Motion Pictures and Video Products Act||HWANG Seung-heum (Kookmin Univ.)|
|Unsustainable Future: Transitional Restructuring of Film and Media Policies||PARK Chae-eun (Indie & Impact Media Lab)|
|The Direction of Culture Promotion Policy and Cinema in the Transition Period of the Media Environment||KIM Kyu-chan (Korea Culture and Tourism Institute)|
|Discussion||Panel: KIM Kyu-chan (Korea Culture and Tourism Institute), KIM Mee-hyun (Korean Film Council), PARK Chae-eun (Indie & Impact Media Lab), HWANG Seung-heum (Kookmin Univ.)|